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  1. Hello there, Recently; I noticed that the fingerboard on my instrument has developed significant wear and tear; affecting both playability and tone. As I am quite attached to this violin; I am eager to explore options for restoring it to its former glory. What material would be best suited for a replacement fingerboard? I have heard ebony is traditional; but are there other materials worth considering for tonal or durability reasons? How crucial is it to find a skilled luthier for this task? I want to en;sure that the replacement fingerboard is expertly crafted and prop;erly fitted to my violin. What should I expect in terms of cost for a fingerboard replacement? Are there any factors that might influence the price significantly? How long does the process typically take from start to finish? I am hopi;ng to minimize the time my violin is out of commission. Are there any special consid;erations or maintenance routines I should be aware of after the replacement is completed? I want to ensure the longevity of both the fingerboard and the violin as a whole. Also, I have gone through this: https://maestronet.com/forum/index.php?/topic/358410-violin-id-and-neck-repair-uipath-please-help-/ Additionally; if anyone has personal experiences or recommendations they would like to share regarding fingerboard replacements; I would greatly appreciate any insights you can offer. Thank you in advance for your help and advice.
  2. Important note: I will be updating this thread over the next coming days and weeks to try and show as much of the strings that I can and to see if it's just the honeymoon phase and how long lasting the strings are. I recently bought a set of Rondo Gold strings that were recommended to me by my teacher who's in Vienna. She recommended both the Dynamo and Rondo Gold sets as she had good experiences with them, but I aimed for the more cost effective Rondo Gold which came in at $110.95 (May have been a pricing issue by the shop, but that's what they quoted). The violin I chose to put these strings are is a violin that's around 100 years old from Germany. With the Helicore strings it had on before the projection was very good and it had a rich sounding tone, although I wasn't a huge fan of the Helicore strings as they didn't fit what I wanted from the violin's sound and I wanted a nice little upgrade since I've never done a set of strings over $75. We kept all 4 fine tuners on as the tailpiece had slight damage to where they would go. We also changed out the plastic tubes on the A and E for a parchment piece for the E string. We tried it out in the shop and I could hear a nice difference. But waited until we got home to hear the difference fully. We tried it out in the living room with several pieces. Mendelssohn Violin Concerto, Brahms Hungarian Dance No. 5, Brahms Violin Concerto, Bach Partita No. 2, Mozart Violin Concerto No. 3, Vivaldi Summer, Paganini Caprice 24, and Vivaldi Violin Concerto A Minor. The major differences I noticed are, the colors of these springs explodes, and it somehow gets better the higher you go on the strings. The projection and control now is insane, it can output so much volume when I need it to, and soften up to a nice Pianissimo where needed and without losing quality of it's sound. Before it already projected pretty good, now it's just a beast waiting to be awakened. It also has so much color to them which is exactly what I wanted. The strings also have a very nice grip to them. Other notable differences is I don't notice any whistle on the E string since I hear that some gold strings has that issue. But this one doesn't seem to have that as an issue at all although it could just be that my violin accepted these strings very well as all violins are different and will react differently to different variables and items. And the chords for Bach Partita No. 2 comes out very nicely on these strings. I have nothing but praise for these strings. They're affordable and come with two E strings, one being gold plated, the other is tin plated. I will add some recordings as I get them done and I will update this thread over the coming days and weeks, especially after my solo performance is done where it'll matter most.
  3. Last weekend I had the opportunity to photography this truly rare instrument: Crafted in 1755 by the renowned luthier Giovanni Battista Guadagnini in Milan, it's in amazing condition, with almost no repairs save for a beautifully crafted soundpost patch. This exceptional instrument is part of the NZSO Foundation’s collection, following a generous donation from Ainsley Walter. The photograph was achieved through the use of advanced medical endoscopy lenses and high-resolution Lumix cameras. In a meticulous process, I combined 613 individual images to craft an optical illusion that amplifies the internal space of the violin, presenting it with the grandeur of a concert hall. Part of my Architecture In Music series
  4. I bought a violin at an estate auction and am trying to get it identified & appraised. The violin’s hand-written label reads: Mathias Albani contrada largo da Milano anno (illegible) It also has an adjacent label reading “Milanollo,” and I can make out the words 24 Rue and Paris. There is some handwriting in this label that I cannot make out. The same luthier also repaired the instrument more than once, signing the instrument A. Blanchette, Montreal (with 1949 in one spot; I’m unable to read the other label but presumably, these repairs occurred on separate occasions.) Unique features: Neck graft, purfling wraps around the corners of the instrument. Neopolitan(?) scroll. I took the instrument to three different luthiers/appraisal experts and got vastly different opinions as to the instrument’s origin, age, and overall value. The first was a young appraiser at a high-end metropolitan shop. She told me that the instrument will cost $5000 in repairs alone, which far exceeds the instrument’s value. She said the instrument is “at least 100-150 years old” and that she believes it is German or Polish or Romanian in origin. The second was a luthier with extensive experience working with Neopolitan violins. He told me that this is “definitely a Neopolitan violin,” made prior to at least 1820, and that with the appropriate repairs, it would be a very decent instrument with great sound (if I’m willing to spend the money on it.) The third is a very young luthier with experience working with old and high-end violins (I was referred to him by my city’s symphony orchestra.) He told me my violin was made in 1800s Germany and is worth 1000-2000 maximum and that repairs would cost about $1000 (not worth it.) For good measure, I also sent photos of the instrument to Tarisio, which valued it at about $5000 but couldn’t estimate a date or place of origin. I’m thinking of taking this on as a restoration project, and given the varied responses (and the money I have already spent on this instrument), obviously I’m more hopeful that Luthier #2 was correct. However, I’m curious to know if anyone has additional input. More information: The previous owner was a multi-millionaire that had an extensive old and high-end violin collection, and he took this particular instrument from California to Montreal (3,000 miles away) for repairs on two separate occasions to see A. Blanchette, who specialized in rare instruments. (Who would make that effort for a garbage violin?) Photos attached: Any experts on Neopolitan violins or Matthias Albani violins, I’d especially appreciate your input. Thanks!!
  5. This is a new violin I found in Korea. The label says, "Alievo di morassi Y. C. Lee." Looks good to me… But Is it worth paying $4,000 for?
  6. Looking for assistance in identifying origin of this violin. It is labeled Friedrich August Heberlein Leipzig 1917. As you may already be aware, this is a distinction from the oval label cursive “Heberlin”. From my understanding, “Friedrich August Heberlin” was not a maker or relative of the famed Heberleins but just a name made by the distributing company, J.W. Jenkins and Sons started in 1912 according to one source. Could it be possible this 1917 violin was among the early years before they changed to the oval “Heberlin” or is there no connection there to begin with? In my research I was unable to find any more information online. Maybe there is something I missed or insight someone is willing to share. I’d also appreciate if you provide what you think an estimated value would be based off the photos provided. Thank you!
  7. Hi All, A friend of mine bought this violin for £1 at a carboot sale. Madness regarding even the amount of flamed maple. I ran a google image search and found this - https://www.isabellesviolins.com/gandbernardel/?photo=Back - by way of the purfling around the button (see image) - the perfling has the same diagonal split near the neck too - similar single piece flamed back and scroll - I can also see similar grafting on the head / scroll - F holes and perfling looks a bit different on front but have found others by the same maker that match. - It looks like someone has attacked it with a sander and crappy varnish on top?
  8. I’m not a full time professional player. However I do appreciate the different tones that different instruments provide and I have found that my preference in tone of a violin changes over time. I currently own a violin that likely is higher in price than what I “need” for what I use it for. While I did love the sound of this violin a couple of years ago when I purchased it, I’m finding it’s not necessarily what I’m wanting out of a violin now. The question is, when do you stop trading in or upgrading your violin? Obviously - if you have a violin that you absolutely love the sound of, you wouldn’t upgrade it. On the other hand, if the violin you own isn’t a violin you love the sound of any longer, do you continue to trade/upgrade until you do find that sound even if it goes above the price of what’s needed for your level of playing/use? Or do you stay with that violin and go on a search for different strings hoping to find a sound you’ll love? On the other hand, are you a person who appreciates the quality of instruments as the price goes higher and are interested in upgrading slowly as a manner of owning/playing some different, yet amazing, instruments over the course of your life? I’d be very interested in knowing how others feel about this topic and what your “strategy” has been in life as a violin player and owner!
  9. Hello Everyone, My name is Danielle and I am the grandaughter-in-law of San Diego violin maker, William Fulton. When he passed away, all of his violin wood, tools, books, etc were passed down to his daughter Shannon (my mother-in-law). Unfortunately, Shannon has become ill, so her son and I have been handling a lot of her personal affairs. We need to sell some of this in order to pay for some of Shannon's treatment, and I'm curious if anyone would be interested in purchasing any of these violin supplies. Everything is located in Rancho Bernardo, and I'd be more than willing to show someone what we've got. My email is danielletrains@gmail.com. Thank you! We'll be taking photos before the new year, to share with you.
  10. I was wondering if you could help me authenticate this instrument, the label says Jean-Baptiste Vuillaume à Paris, 3 rue Demours Ternes. It has strange writing inside, I used a endoscope. I’m thinkining it could be some kind of logo with a name and serial number. Additionally, it has a strange oval drawn in blue ink.
  11. Does anyone have some information on this maker? I have a good violin with only this label to go on … google search has a professor of art and music who was into design and woodwork are anymore instruments known or is any reference to his work out there? thank you
  12. Hi, I'd appreciate to have this violin identified. Especially aproximate date, region and origin, and any other information. Thanks!
  13. I know this is such a micro topic, but in terms of different types of wood, such as Ebony, Rosewood and Boxwood, which wood has what characteristics to sound and which is better in general (boxwood in my city costs way more) and also, does a old German peg differ from possibly Indian or Chinese wood? Is it just a matter of seasoning? How do I test the pegs to determine if it is a good peg? My usual method is to gently flick it and hear if the sound is crisp. lastly, is mechanical other still inferior to manual ones in terms of sound? I have heard mechanical pegs makes the sound of the violin sound more artificial and less natural, so is manual pegs still better? Thank you in advance.
  14. Can anyone help me briefly evaluate this Guarneri del Gesu copy by British maker Earle Hesketh in 1939? Thank you!
  15. Hi, I have a violin whose age and other relevant information I'd like to identify. If possible, I'd like to know whether it is likely to have been manufactured with heavy machinery or manual labor. I suppose the bass bar to be glued in. For that, I bent a paper clip, inserted it into the F-hole and tried to feel the joint of the bass bar to the belly plate. I'm rather positive that it is a 90º perpendicular corner, as opposed to a curved ascent, which - I suppose - would indicate a carved bass bar. If this doesn't sound reliable a method at all, please ignore this paragraph altogether. I am a beginner violin student (2 years in the learning), I bought this violin from a friend of my teacher's, and it is the one I use daily for practice as a hobby. It serves me well and I've had other violin teachers play it and say it sounds rather impressive. IDing is merely for curiosity sake Pics attached. Thank you!
  16. I have this bow by a maker named Enrico D’Argenio. I would like to know approx how much is this worth and nationality of this bow. Thank you so much.
  17. I bought it recently at a local private dealer for $10000 usd. But it doesn’t have a certificate and its maker is unknown as shown in the signature inside the violin. The dealer only says it is Italian and I thought it sounds unique so I still went ahead and bought it. Can someone help me identify this violin? Thanks.
  18. Howdy folks, new to this website. My grandfather was a collector of old instruments, and I've been playing violin since I was a little kid. I own two of his violins, we had them restored so I could play them in highschool. It's been a few years since I've graduated and I'm picking them up again. One was easy to figure out (from the 1880s!), But this one has me perplexed!! I can only find a single google search result for Edward Kreusler, and it's an auction from 2010! I would love to know when this violin was made and/or the history of it's maker, but I can't find anything!! I'm not sure what all was replaced when it was restored. It was restored about 5-6 years ago. Anyone know anything??? Thanks!!
  19. Hi! I recently found a neat looking violin at thrift store. It came in a nice plastic hardshell case and with a well worn octagonal silver mounted bow so for $30 i took a chance. Very good condition (no cracks i can find) except for some wear on the fingerboard and some honest playing wear. The label inside says Hermann Todt 1928, after some googling this seems to be a fairly well known maker making quality instruments. I was wondering if someone here could shine some light if this is actually a Hermann Todt or just a common case of a fake label? Also if anyone has some more information regarding which model/maker this fiddle is in the style of, its quality and potential value. Please see the attached images (including the label) and many thanks in advance for your help!
  20. Hello, It's been a long time since I asked about a new instrument, but the time has come. This violin has the 4 corner blocks, and the ribs seems to be like a BOB construction, The pegbox run to the end. The edge is rounded and the f holes are well cut ( I think) It has a fire brand in the bottom rib... but I can not read it. The varnish makes me think the violin is revarnished or sanded... it has a lot of craqueleur. What is your opinion? Thank you very much
  21. We've set the date of April 21-22, 2023 for our next meeting and maker's competition. It will be held at Wildacres Retreat in western North Carolina just off the Blue Ridge Parkway. 2 full days of presentations and workshops, accommodations on or off site. Check in will be Thursday afternoon, April 19, and check out on Sunday morning, April 23. More details are available at our website landing page http://southernviolinassociation.com If you're interested in receiving our bulletins and updates, send me a personal message and I'll get you onto our database. Thanks.
  22. I am interested in finding a buyer for a 2006 John Sipe violin. I am not a musician and have no idea how to price this. Any suggestions would be greatly appreciated.
  23. Good morning. Some time ago I had an old German copy Stradivari violin, which is well made, but all its accessories (pegs, fingerboard, tailpiece) were plastic and of poor quality, in addition to having a poorly adjusted sound post and a poorly made bridge. The sound of the violin was very loud and strident, like an old radio and in my orchestra it was the violin that stood out the most, to the point that my joking companions called it "il cannone". This Christmas an old luthier friend who lives more than 1000km away came to town to spend Christmas with his family and I immediately asked him to adjust my violin. As I mentioned earlier, the violin has a strong, deep sound, but with some small parasitic vibrations that caused it to sound like an old radio blaring, and I blamed this on poor quality accessories and poor sound post setup. and the bridge. He added ebony parts to the pegs, chin rest, tailpiece and fingerboard, since the ones that the instrument had were not original, they were made of poor quality wood painted black, added shortly before I acquired the instrument. The pegs were also painted and poorly adjusted, the tailpiece was plastic. He added an ebony fingerboard that he recycled from a cello fingerboard, ebony pegs set to perfection, a bridge that fully fits the top of the violin, and an ebony tailpiece. When I saw the instrument I was surprised, especially by the fingerboard, which had a tiny and old flame that matches the flame of the violin. When you finally play the instrument notice the change in sound. It still sounded loud, but it no longer had those annoying parasitic vibrations, instead it now sounded round and warm, but the A string did have a decrease in its sound, being very muted compared to the rest of the strings, as if there was something that prevented it from vibrating freely. I talked to my friend and he told me that it could be the position of the sound post, that he hoped to do that job with me so that I could tell him which place seemed best to me, but he couldn't do it because he traveled back He went ahead to his house, for which he gave me the violin with the sound post without my being able to play it before. He added some new pirastro tonic strings, which are nylon wound. Before that he had high tension all metal strings. I don't know what this decrease in sound could be due to, specifically of the A string. I think it may be the excess of ebony parts prevents the violin from vibrating freely, a sound post configuration that does not enhance the A string, the new low-tension nylon strings that do not fully vibrate the instrument or... all of the above together. What do you think?
  24. Hello, I would like to ask you for violin identification and other information about this violin. Unfortunately I have no more pictures. Thank you
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